Editor's info:Joining Eubanks on this stellar outing are longtime collaborator and former Berklee College of Music schoolmate, drummer Marvin “Smitty” Smith, who fuels the West Coast outfit alongside seasoned session bassist Rene Camacho, percussionist Mino Cinelu and saxophonist Bill Pierce. Smith’s East Coast counterpart on this bi-coastal session is the irrepressibly swinging Jeff “Tain” Watts, a force of nature on the kit who combines with bassist Dave Holland, Philadelphia-based pianist Orrin Evans and New York trumpeter Nicholas Payton for a potent lineup. Together these great musicians bring out the best in Eubanks’ six-string prowess and ignite his searching instincts throughout the sessions in Los Angeles and New York.

All About Jazz - ocena * * * * 1/2:(. . .) The album kicks off with the East Coast crew performing "Time Line," an urgent swinger paced by Holland's signature walking pulse and Watts' polyrhythmic kit work. Eubanks right hand technique allows him to get a sonically different percussive attack rather than if he just used a pick, it also affords him the ability to play more independent parts or counterpoint within his musical ideas. For example, his alternating doubling the baselines and dealing in Wes-style octaves on his solo in "Time Line," reveals the uniqueness of his technique. Payton's strong brass trumpet sound turns in a solo that bristles with energy and "Tain" brings his usual rhythmic power through musicality on the kit during the tag. Eubanks gives his thoughts on the track, "There's something a little Philly about that groove. I mean, it's a long way from when I was playing in the neighborhood bands but basically that's a little Philly vibe in there."

The introspective "Poet" introduces Evans on the Fender Rhodes engaging in a sparse and tender duet with Eubanks on the opening four minutes of the tune before the full band enters. All though, Eubanks predominantly takes the solo role during the intro. He keeps a central theme throughout, with Evans playing the supportive role, but when Evans does take the lead, he matches Eubanks musical language and style perfectly. The guitarist shifts from warm-toned electric to nylon-stung acoustic after that distinct break, while Evans moves from Rhodes to acoustic piano in the second half of the tune. The melody is beautiful and Evans chordal colors are perfect. The group returns to the original theme for the ending and really makes an enjoyable musical journey that is jazz and much more.

The West Coast crew opens with a mambo-flavored arrangement of Duke Ellington's "Take the Coltrane." Eubanks articulations are percussive in his attack, slightly on top of pulse of the clave-fueled groove, leading to an exceptional musical statement. Eubanks next extrapolates on a motif from Chick Corea's "Captain Senor Mouse," which has him doubling on steel string guitar and bass, accompanied only by Cinelu on percussion and Smith on drums.

The West Coast crews take on Eubanks' uncle, Ray Bryant's "CubanoChant" has the guitarist alternating between acoustic and electric guitar, while Pierce supplies a climbing soprano sax solo.The guitarist explains his directive to the musicians on this popular Afro-Cuban flavored track. "I just said, 'Let's just get compassionate on this...let's breathe on this and let it float so it's not all stick it and quit it. The influence of Latin jazz is undeniable when you're on the West Coast long enough, and I wanted to reflect that in this session." (. . .)By GEANNINE REID